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I am looking to contact or at least discover more about the photographer, Isabela Jedrzejczyk, who has exhibited at the Side Gallery in 1980. I am particularly interested in her series of photographs known as 'the Jungle Portraits', named after a pub called the Northumberland Arms, aka The Jungle, in North Shields photographed in 1979 as part of a Side Gallery commission. 

I believe Isabela may be lecturing now but have little more information generally available. 

Many thanks,

Alex Schneideman

Flow Photographic

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Lacock Abbey has slavery link

12201147299?profile=originalThe National Trust has released an Interim Report on the Connections between Colonialism and Properties now in the Care of the National Trust, Including Links with Historic Slavery which surveys its properties and highlights links between the property, past owners and slavery and colonialism.  Lacock Abbey, one of photography's most important historical sites, is included. 

The report notes: 

Lacock Abbey, Wiltshire
John Rock Grosett MP (c.1784–1866) was a plantation owner who leased Lacock Abbey during the 1820s. He was the son of Schaw Grosett (1741–1820), a merchant of Clifton, Bristol, and Mary Rock (1755–1807). John Rock Grosett married his cousin, Mary Spencer Shirley (1784–1820), and through his father, mother and wife received a combined inheritance of at least three Jamaican estates: Chepstow Pen and Spring Gardens Estate in St George, and Petersfield in St Thomas-inthe East. In 1822, he joined the Standing Committee of The London Society of West India Planters and Merchants and supported planters’ interests in Parliament. By 1831, Grosett had left Lacock to live in Jamaica, elected to the Assembly that year. In 1834, he and his lawyer received compensation totalling £16,143 1s. 9d. for 916 enslaved people. 

H J P Arnold notes in his biography of William Henry Fox Talbot (p. 45-46)  that Grosset surrendered the lease to Lacock Abbey in 1827 and it was made ready for a partial reoccupation by Talbot and the Fieldings, including Talbot's mother, Lady Elizabeth, and his sisters. Lacock itself is unlikely to have benefited directly from Grosset's occupation and there is no suggestion that Henry Talbot or his immediate family profited from slavery or colonialism, other than from Grosset's rental income.     

The full report can be read here:

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12201146255?profile=originalDiscover the work of the 2020 Kraszna-Krausz Book Awards winners in two live-streamed conversations. The Foundation is delighted to present this very special event in collaboration with The Photographers’ Gallery.

This free, live-streamed event features Chicago-based artist LaToya Ruby Frazier, winner of the Photography Book Award, in conversation with Renée Mussai, Senior Curator and Head of Curatorial & Collections at Autograph, London.

This will be followed by a discussion with Daniel Morgan, editor of ‘Frame by Frame: A Materialist Aesthetics of Animated Cartoons’. The book's author, Hannah Frank, has been posthumously awarded the 2020 Moving Image Book prize.  Morgan (Professor of Cinema and Media Studies at the University of Chicago) will be joined by Karen Redrobe (Professor of Cinema and Modern Media, University of Pennsylvania).

Each discussion will be followed by a Q&A with the online audience.


Kraszna-Krausz Book Awards 2020

In conversation: LaToya Ruby Frazier with Renée Mussai & Daniel Morgan with Karen Redrobe

Wednesday 30 September, 6.30pm


Image credits:
LaToya Ruby Frazier. Photograph by Steve Benisty
Portrait of Hannah Frank courtesy of the author’s family

LaToya Ruby Frazier is a visual artist known for collaborative storytelling with the people who appear in her photographs, videos, texts and performances. LaToya Ruby Frazier (Mousse Publishing & Mudam Luxembourg) includes works from three of Frazier’s major photographic series. Exploring racial discrimination, poverty, post-industrial decline and its human costs, the book leaves a lasting historical legacy and forms a pertinent contemporary commentary about the American condition.
Hannah Frank (1984-2017) taught film studies at the University of North Carolina, Wilmington. Her posthumously published Ph.D thesis Frame by Frame: A Materialist Aesthetics of Animated Cartoons (University of California Press) shows how central photography was to the process of cartoon-making in the Golden Age of animation (1920-60). Frank takes a frame by frame look at the laborious process of “an art formed on the assembly line”, revealing moments of unexpected beauty and hidden history within the image.
The print version of 'Frame by Frame' is available to buy. University of California Press has published a digital version on the open access platform, Luminos, where it is freely available to anyone in the world.
The Kraszna-Krausz Foundation
The annual Kraszna-Krausz Book Awards celebrate outstanding and original contributions to photography and moving image publishing. The Awards are sponsored by the Kraszna-Krausz Foundation, which was created in 1985 by Andor Kraszna-Krausz, the founder of Focal Press. They are the UK’s leading prizes for books on photography and the moving image. More information on the work of the Foundation can be found online at
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12201145664?profile=originalWe are pleased to be hosting the joint book launches of Wendy Ewald's acclaimed Portraits and Dreams and Noni Stacey's highly anticipated Photography of Protest and Community.

When Wendy Ewald arrived in the heart of the Appalachian Mountains in 1975, she began a project that aimed to reveal the lives, intimate dreams and fears of local schoolchildren. Tasked with finding authentic ways of representing the lives of these children, she gave each of them a camera and interviewed them about their childhood in the mountains. Through these intriguing transcripts and photographs, we discover the lives of families as seen through the eyes of their children: where domestic, rural life is understood with startling openness and depth.

During the 1970s, London-based photographers joined together to form collectives which engaged with local and international political protest in cities across the UK. Noni Stacey's book is a survey of the radical community photography that these collectives produced. Through archival research, interviews and newly discovered photographic and ephemeral material, Stacey tells the story of the Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, producers of Camerawork magazine, and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project. It reveals how they created a 'history from below', positioning themselves outside of established mainstream media, and aiming to make the invisible visible by bringing the disenfranchised and marginalised into the political debate.

Publication Launches

Wendy Ewald - Portraits and Dreams
Noni Stacey - Photography of Protest and Community: The Radical Collectives of the 1970s
Thursday 29th October 6.30 - 7.30pm
Livestreamed on our Facebook page

Wendy Ewald was born in Detroit, Michigan in 1951. She started the Half Moon Gallery in the foyer of the Half Moon Theatre in 1972, one of a few galleries alongside The Photographers' Gallery which was exhibiting photography at the time (a chapter in Noni Stacey’s book is devoted to this subject).

Since returning to the States in the 70s she has collaborated on photography projects with children, families, women, workers and teachers over a 40 year period.. Her projects start as documentary investigations and move on to probe questions of identity and cultural differences. She’s worked in the United States, Labrador, Colombia, India, South Africa, Saudi Arabia, Holland, Mexico and Tanzania. She has had solo exhibitions at the International Center of Photography in New York, the Corcoran Gallery of American Art, the Fotomuseum in Winterthur, Switzerland among others and participated in the 1997 Whitney Biennial. Her many honors include a MacArthur Fellowship, grants from the National Endowment for the Arts and a Guggenheim Fellowship.

Noni Stacey is a writer, political researcher and photo historian. Her PhD, ‘Community Photography’: Radicalism and a culture of protest in the London based photography collectives of the 1970s, was funded through the Arts and Humanities Research Council and awarded in December 2017 from University of the Arts London. She completed an MA in the history and theory of photography at Sotheby’s Institute of Art in 2010 (awarded Distinction, 2011). Before returning to education, she worked as a freelance picture editor and researcher for publications such as Guardian Weekend MagazineThe Guardian and The Independent on Sunday. Noni has also worked as a TV news producer and journalist. 

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12201139501?profile=originalPlatinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process describes the mechanisms and chemistry of platinum/palladium printing in safe and practical ways. Clearly presented formulae allow the printer to work with platinum, palladium, or varying combinations of both. The printed-out image appears fully during exposure, and only requires simple and safe steps for clearing to a stable, archival state.

Pradip Malde and Mike Ware explain what makes the image, how all necessary components are prepared and used, and the kind of paper and negative needed to make prints. More than just a technical manual, the book underscores the authors' belief that printing is a creative, scientific, and philosophic way of working. The book presents an outstanding collection of prints by over forty artists, all made with this printing-out process. The artists' notes and comments offer insights into their methods and thinking, and a large number of full-page reproductions serve as a valuable reference to the aspiring printer.

Platinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process 
Pradip Malde and Mike Ware
Rputledge / Focal Press
ISBN 9780367415952

£42.99 (soft), £120 (hard), 304 Pages 177 Color Illustrations,
December 21, 2020 Forthcoming by Routledge

See more here.

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12201144099?profile=originalThe Kraszna-Krausz Foundation has announced the two winners of its annual Photography and Moving Image Book Awards. Chicago-based artist LaToya Ruby Frazier has won the Photography Book Award for her eponymous book LaToya Ruby Frazier (Mousse Publishing & Mudam Luxembourg), which brings together three photographic series that comment on racial discrimination, poverty, post-industrial decline and its human costs.

Hannah Frank has posthumously been awarded the Moving Image Book Award for Frame by Frame: A Materialist Aesthetics of Animated Cartoons (University of California Press). In this book, Frank takes a frame by frame look at the laborious process behind the pre-digital processes of cartoon-making, enriching understandings of the Golden Age of animation.

In lieu of a physical awards ceremony, the 2020 winning titles will be showcased in a free digital event in partnership with The Photographers’ Gallery at the end of September, featuring conversations about the two winning titles, which will be open to the public online.

Artist and Editor Talks – Kraszna-Krausz Book Awards 2020 showcase
30 September 2020 [Time TBC]
The Photographers’ Gallery - live streamed event.
RSVP via:

More information on the work of the Foundation can be found online at

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12201143271?profile=originalThe Hasselblad camera used by Iain Macmillan (1938-2006) to photograph The Beatles' 1969 Abbey Road album cover is being offered for auction by Bonhams on 13 October 2020. The Hasseblad 500C camera comes with its Zeiss Planar 80mm /2.8 lens and the viewfinder screen is still marked up with lines outlining the Abbey Road crossing.

Accompanying the lot is a  Zeiss Distagon 50mm f/4 lens; a tripod; a number of accessories including filters; lightmetres; and a black Nikkormat camera with four interchangeable lenses; all housed in an aluminium camera case labelled IAIN MACMILLAN, and accompanied by a black and white photograph of Iain with the Hasselblad camera around his neck.  It is estimated at £2000-2500. 

The lot is offered by the Iain Macmillan Archive.  Having met John Lennon at the Indica Gallery with Yoko Ono in 1966, Lennon later invited Macmillan to photograph the Beatles for the cover of their final album 'Abbey Road'. Given the Beatles recorded most of their music at the EMI Studios on Abbey Road, St John's Wood, London, they decided to name their last album after the road. Armed with a sketch Paul McCartney had given him a couple of days before of what the picture should look like, Iain knew he didn't have long to get the right shot for the world's most famous band.

On 8th August 1969, at around 11:30 am, a hired policeman stopped the traffic, Iain climbed up a large stepladder in the middle of Abbey Road and took just six pictures of the Beatles crossing the street. In approx 10 minutes Iain shot the band in various orders, but it was frame no.5 that was used for the cover of the album - the only photo where all four of them are striding in perfect formation.


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12201142490?profile=originalThere was a paradigm shift in the way photography was taught in Britain in the 1960/70s. In How Change Happens: Photography Education and Society May McWilliams uses four colleges - Derby College/Trent Poly, Newport College, London College of Printing, Regent Street Polytechnic -  as case studies to illustrate the change. Oral history accounts of the main players bring the story to life. She sets the changes in photographic education within the broader context of changes in higher education and society.  

Another shift is taking place now. In the final chapter she considers the challenges for photography educators today and draws parallels with the 1970s.

How Change Happens: Photography, Education and Society
May McWilliams, with a foreword by Dr Michael Pritchard
September 2020
ISBN: 978-1-71-538597-2
£27.95, 166 pages with 33 illustrations
Available through Amazon

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Fotografiska London is no more...for now

12201141691?profile=originalFotografiska London, the Museum of Photography, which was originally due to open in 2018 has been cancelled as the investment group behind it, Fotografiska London Ltd / AB, has ended its efforts to open at the Whitechapel High Street location. Originally scheduled to open in 2018, and then postponed, uncertainty around Brexit, coupled with current COVID-19 concerns, have now made it untenable for the London-based licensee to successfully establish a franchise.  The earlier delays suggest that issues around the financing predate COVID-19.

Fotografiska International sees London as a leading cultural city, and will evaluate other opportunities in London directly in conjunction with real estate partners.

Footgrafiska's other locations in Stockholm, Tallinn, and most recently in New York, continue as before. Fotografiska in Stockholm, which was founded in 2010, stages between 20 and 25 large-scale exhibitions per year and attracts some 500,000 visitors per year. Part of its mission is “inspiring a more conscious world” through its photography exhibitions and programming.


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New research based on a view of 'Roslyn Chapel --- The Apprentice's Pillar' confirms Mr Wilson introduced CDV views before late 1868. The printed caption appears on the recto and the seller's label, 'William Smith, 43 Lord Street, Liverpool' on the verso.

In 1862, the British Journal of Photography suggested to readers, they buy from Mr. Smith at 43 Lord street cartes of American personalities, published by Anthony of NYC, to support a Lancashire charity. Gore's Liverpool Directory of 1867 no longer listed Mr.Smith at that address.

From a selection of 12 hand-captioned CDVs, one of "Peterborough Cathedral" is printed on watermarked paper dated '1862'. Dr. Blair in his 2020 update of a listing of GWW's stereoscopic views notes this script is in Mr. Wilson's12201140080?profile=original own hand.

Mr. Wilson's ambition has led to confusion. Coincidental to his 1863 list 'Stereoscopic and Album Views' he created a print from half of a stereo neg, he called an 'Album'. [later called 'scraps'] Mounted cards are very uncommon today on the dealers and collector's market. I believe his '... Album Views' are CDVs and follow an evolution easily traced.

The exhibition 'Mr. Wilson's Album Views' is a follow-up to 2017's 'The Artist Mr. Wilson' hosted at the same venue, The Atwater Library, 1200 Atwater Avenue, Westmount, Quebec, Canada from September 17 to December 10, 2020. See:

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12201138089?profile=originalPassenger Pigeon Manifesto...A call to public galleries, libraries, archives, and museums to liberate our cultural heritage. Illustrated with the cautionary tales of extinct species and our lack of access to what remains of them.

I. How many people know about the passenger pigeons?

Martha, the last passenger pigeon to ever live on Earth, died on 1 September 1914. Less than 50 years before her, wild pigeons, as they were also called, flew in flocks of millions in the USA and Canada. Their numbers were so vast their arrival darkened the sky for hours, and branches of trees broke under the collective impact of their landing. Accounts describing how it felt to witness these birds were already unimaginable to most people at the beginning of the 20th century. Still, they are not a matter of poetry but factual natural history.

Simon Pokagon, a Native American Pottawatomi author and advocate, as a young man lived in a time when he could still see passenger pigeons “move in one unbroken column for hours across the sky, like some great river(…) from morning until night”. He noted that even though his tribe already named the birds O-me-me-wog, “why European race did not accept that name was, no doubt, because the bird so much resembled the domesticated pigeon; they naturally called it a wild pigeon, as they called us wild men”. Pokagon writes about witnessing a method of hunting passenger pigeons by feeding them whiskey-soaked mast, rendering them flightless. He was shattered by a tragic parallel: his tribe was devastated by the introduction of mass produced alcohol by white men.

(Marshall County Republican [Plymouth, Indiana], September 10, 1857, pg. 3.)


The history of the passenger pigeons is accompanied by a ubiquitous disbelief. When the sight of millions was an integral part of the ecosystem and the everyday life of modern America, many did not believe a species of such numbers could go extinct. When their disappearance became an undeniable experience, people said they simply moved to South America. Today, chasing dreams of resurrection in the face of anthropogenic extinctions shows the still continuing failure to understand the finality of their death and come to terms with our responsibility. 

Deep under all this, there is a tragic lack of self-reflection on what we, humans, are capable of. Many might try to dismiss this is as being only a matter of older times and societies long since transcended. Yet, there is no need to dig deep. Don’t forget about the widespread denial of climate change. Don’t forget about the anti-narratives to the Black Lives Matter movement claiming systematic racism does not exist, denying any connections to colonialism.

In order to improve, our definition of what it means to be human must include recognising the horrors we are capable of in societies of past and present. The systematic oppression of others and the massacre of billions of animals were done by human beings. Us. We can become better only if we realise that besides all the wonders, this is us too and it can happen again if we don’t change the ways we live together.


A photo of one of the last thylacines, a species which became extinct when Benjamin died on 7 September 1936. Our imagination tries to grasp it through animals we know: it’s some kind of a tiger or a wolf. But it’s none of that, not even remotely related. What colours did it have? What did it sound like?

How do we feel when we look at photographs of animals long gone? Melancholy, the repressed fear of death, sorrow but also empathy, the desire to act – these are very important feelings. Black and white conveys the sadness of a final loss that no colors can. Photography, no matter how deceptive it can be, is able to wash away cynicism and induce profoundly human emotions – ones we should feel when we think about injustice – human and non-human –, extinction or the climate crisis.


Looking at history provides a mental space where we can observe humanity and wonder about the whys and what ifs without the immediate frustration of the present. Exactly this removedness is what allows us to recognise and reflect on mistakes and right decisions.

We are supposed to learn from history, yet we don’t have access to it. Historical photographs of extinct animals are among the most important artefacts to teach and inform about human impact on nature. But where to look when one wants to see all that is left of these beings? Where can I access all the extant photos of the thylacine or the passenger pigeon? History books use photos to help us relate to narratives and see a shared reality. But how can we look through our own communities’ photographic heritage, share it with each other and use it for research and education?

Historical photos are kept by archives, libraries, museums and other cultural institutions. Preservation, which is the goal of cultural institutions, means ensuring not only the existence of but the access to historical materials. It is the opposite of owning: it’s sustainable sharing. Similarly, conservation is not capturing and caging but ensuring the conditions and freedom to live.

Even though most of our tangible cultural heritage has not been digitised yet, a process greatly hindered by the lack of resources for professionals, we could already have much to look at online. In reality, a significant portion of already digitised historical photos is not available freely to the public – despite being in the public domain. We might be able to see thumbnails or medium sized previews scattered throughout numerous online catalogs but most of the time we don’t get to see them in full quality and detail. In general, they are hidden, the memory of their existence slowly going extinct.

The knowledge and efforts of these institutions are crucial in tending our cultural landscape but they cannot become prisons to our history. Instead of claiming ownership, their task is to provide unrestricted access and free use. Cultural heritage should not be accessible only for those who can afford paying for it.


Acknowledging the importance of access to information and cultural heritage, and the vital role of public institutions, we call on galleries, libraries, archives, museums, zoos and historical societies all over the world:

1.) Cultural institutions should reflect on and rethink their roles in relation to access. While the current policy landscape, lack of infrastructure and the serious budget cuts do not support openness, cultural institutions cannot lose sight of their essential role in building bridges to culture. Preservation must mean ensuring our cultural heritage is always easily accessible to anyone. Without free, public access, these items will only be objects to be forgotten and rediscovered again and again, known only by exclusive communities.

2.) Physical preservation is not enough. Digital preservation of copies and metadata is essential but due to the erosion of storage, files can get damaged easily. To ensure the longevity of digital items, the existence of the highest possible number of copies is required: this can be achieved by sharing through free access.

3.) Beyond preservation and providing access, institutions need to communicate the existence and content of their collections, our cultural heritage. Even with unlimited access, not knowing about the existence and context of historical materials is almost the same as if they didn’t exist. Approachability and good communication is crucial in reaching people who otherwise have less access to knowledge.

4.) Publicly funded institutions must not be transformed by the market logic of neoliberalism. The role of archives, museums and other cultural institutions, is more and more challenged by capitalism. They need to redefine themselves in ways that allow cultural commodities to be archived, described and shared in the frameworks of open access and open science. The remedy to budget-cuts and marketisation requires wide-scale, public dialogue and collaboration. Involving people from outside of academia has great potential: NGOs, volunteers, open-source enthusiasts, online and offline communities and passionate individuals are a vast resource and should be encouraged to participate. Akin to citizen scientists, there can be citizen archivists.

5.) Liberate and upload all digitised photographs and artworks that are in the public domain or whose copyrights are owned by public institutions. Remove all restrictions on access, quality and reuse while applying cultural and ethical considerations (“open by default, closed by exception”). Prioritize adapting principles and values recommended by the OpenGLAM initiative in the upcoming ‘Declaration on Open Access for Cultural Heritage’.

6.) All collections should be searchable and accessible in an international, digital photo repository. Instead of spending on developing various new platforms for each institution, the ideal candidate for an independent, central imagebase that provides the widest possible reach is Wikimedia Commons. Using Commons would provide an immediate opportunity to release cultural heritage while still allowing the long-term development of digital archives for institutional purposes. Operated by the non-profit Wikimedia Foundation, Commons is a community managed, open and free multilanguage platform. It provides access to millions of people by sharing images under open licences. Wikipedias of all languages are using Commons to illustrate their articles, and the photos appear on news sites, blogs, and research articles all over the world. Wikimedia is open to collaboration with GLAMs and many institutions are already active on the site including the Digital Public Library of America and the Cultureel Erfgoed. By using Commons, institutions will also benefit: the platform runs on a free and flexible software where photos can be described and categorised using structured data. Utilising the participation of a large and diverse community in catalogising, tagging, publicising and even researching can save time and cut costs. At the same time, institutions will still retain the physical copies and will be able to use the digital photos on their own platforms as well. The images on Commons will also cite their original holding institutions, granting further visibility to their collections and efforts.

Today we are so far ahead in forgetting our past that we came very close to repeating it. Providing free, universal access to culture and knowledge is one of the steps we must take to prevent this.


African Digital Heritage  •  Archives Portal Europe Foundation  •  Associazione Italiana Biblioteche GOAPD  •  Center for Open Science  •  COMMUNIA  •  Crested Tit Collective  •  Curlew Action  •  DARIAH-EU  •  Europeana Foundation  •  Humanities for Change  •  International Centre for Archival Research (ICARUS)  •  Knowledge Futures Group (MIT)  •  New Networks for Nature  •  Open Education Resources Ghana  •  Open Humanities Press  •  Open Knowledge Maps  •  OPERAS •  Pensoft Publishers  •  PHOTOCONSORTIUM  •  Research Ideas and Outcomes

Daisy M. Ahlstone – Ohio State University
Stacy Alaimo – University of Oregon
Stefan Aumann – Hessian State Office for Regional History
Patrick Barkham – The Guardian
Amy-Jane Beer – Independent, biologist, nature writer
Sarah Bezan – University of Sheffield
Jeroen Bosman – Utrecht University Library
Patricia Brien – Bath Spa University
Ronald Broglio – Arizona State University
Matthew R. Calarco ‎– California State University, Fullerton
Cameron Campbell – Online Thylacine Museum
Fiona Campbell – Independent, artist
Cat Chong – Nanyang Technological University, Singapore
Christopher Cokinos – University of Arizona
Marina Cotugno – Independent, photo editor
Thomas Crombez – Royal Academy of Fine Arts Antwerp
Istvan Csicsery-Ronay – DePauw University, Humanimalia
Anna Dempsey – Bath Spa University
Jessica M. DeWitt – Network in Canadian History & Environment (NiCHE)
Tinghui Duan – Friedrich Schiller University Jena
Ehab K. Eid – IUCN Species Survival Commission
Jonathan Elmore – Savannah State University
Frank Fischer – Higher School of Economics (Moscow), DARIAH-EU
Andy Flack – University of Bristol
Errol Fuller – Independent, writer
Madeline B. Gangnes – University of Scranton
Terry Gifford – Bath Spa University
Lucy Gill – University of California Berkeley
Giovanna Gioli – Bath Spa University
Dorothea Golbourne – Independent, sustainability copywriter
Cesar Gonzalez-Perez – Instituto de Ciencias del Patrimonio (Incipit)
Mitch Goodwin – University of Melbourne
Andrew Gosler – University of Oxford, EWA
Mark Graham – University of Oxford, Fairwork
Jonathan Gray – King’s College London, Public Data Lab
Adam Green – The Public Domain Review
Katrina van Grouw – Independent, writer, illustrator
Gary Hall – Coventry University, OHP
Adam Harangozó – Independent
Donna Haraway – University of California, Santa Cruz
Stevan Harnad – Université du Québec à Montréal, Animal Sentience
Terry Harpold – University of Florida
Caroline Harris – Royal Holloway, University of London
Laura Hellon – Royal Holloway, University of London
Marieke Hendriksen – Royal Netherlands Academy of Arts and Sciences (KNAW)
Charlotte Hess – Digital Library of the Commons, Indiana University
Daniel Himmelstein – University of Pennsylvania
Steve Hindi – Showing Animals Respect and Kindness (SHARK)
Ben Hoare – Independent, author, naturalist
Poul Holm – Trinity College Dublin

Branden Holmes – REPAD
Briony Hughes – Royal Holloway, University of London
Julian Hume – Natural History Museum, London
Richard Iveson – University of Queensland
Sigi Jöttkandt – UNSW Sydney, OHP
Paul Keller – University of Amsterdam, COMMUNIA
Wouter Koch – Norwegian University of Science and Technology
Richard Kock – Royal Veterinary College
John Laudun – University of Louisiana
Peter Maas – Independent, The Sixth Extinction website
Roger Maioli – University of Florida
Christof Mauch – Rachel Carson Center for Environment and Society, LMU
Daniel Mietchen – University of Virginia
Paolo Monella – Venice Centre for Digital and Public Humanities
Lenore Newman – University of the Fraser Valley
Brian Nosek – University of Virginia, Center for Open Science
Melek Ortabasi – Simon Fraser University
David Ottina – Open Humanities Press
Ben Parry – Independent, artist
Bill Pascoe – University of Newcastle, Australia
Justine Philip – Museum Victoria, University of New England
Bo Poulsen – Aalborg University
Andrew Prescott – University of Glasgow
Kate Rigby – Bath Spa University
Kenneth F. Rijsdijk – University of Amsterdam
Gimena del Rio Riande – University of Buenos Aires, IIBICRIT-CONICET
Antonella De Robbio – E-LIS
Merete Sanderhoff – Statens Museum for Kunst Copenhagen, Europeana
Marco Sartor – University of Parma
Boria Sax – Mercy College
Jeffrey Schnapp – Harvard University
Philip Seddon – University of Otago
Nicole Seymour – California State University, Fullerton
Sadik Shahadu – Global Open Initiative
Stephen Sleightholme – International Thylacine Specimen Database (ITSD)
Cooper Smout – Queensland Brain Institute, IGDORE
Genese Sodikoff – Rutgers, The State University of New Jersey
John Sorenson – Brock University
Heather Staines – Knowledge Futures Group (MIT)
Peter Suber – Harvard University
Eline D. Tabak – University of Bristol & Bath Spa University
Simon Tanner – King’s College London
Chao Tayiana – African Digital Heritage, Museum of British Colonialism
Michael P Taylor – University of Bristol
Erzsébet Tóth-Czifra – DARIAH-EU
Kevin Troch – University of Mons, MUMONS
Harry Verwayen – Europeana Foundation
Sacha Vignieri – Science Magazine
Mathew J. Wedel – Western University of Health Sciences
Francisco Welter-Schultes – University of Göttingen
Joshua Williams – Bath Spa University

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A 3,000 camera collection in Fife

12201137680?profile=originalSome of you might have seen this on the BBC News site; if you want to know more, there's information on the trust and St Monan's photographic roots here  and I've no official link with the project, but it caught my eye as I'm Scottish and went to university nearby at St Andrews!

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12201136700?profile=originalSirkka-Liisa Konttinen's Spacehopper hit Manhattan's Upper East Side last week as part of Madison Avenue Welcome Back Saturdays. This large window display and exhibition inside will be up through the end of the month. To all those in or passing through New York, we hope you have the chance to see it!12201137469?profile=original

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12201135875?profile=originalLet Us Now Praise Famous Women: Discovering the work of Female Photographers is an online conference being held on 24 October as part of Photo Oxford. It will explore the critical work of women writing about, collecting, and curating photography by women.

Key questions include how women’s voices are heard in the history and criticism of photography, the influence of the feminist movement on women photographers’ careers, and the role of museums in shaping the legacies of women photographers. The day also foregrounds strategies for emerging photographers to find themselves in a supportive network of ideas and practice.

Speakers include Val Williams, Patrizia di Bello, Anna Fox, Fiona Rogers, and others. 

Attendance is free. Booking and the programme can be seen here:

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12201135286?profile=originalAlthough he would come to be best known as a member of the British royal family, Lord Snowdon was first, foremost and to the end, a photographer. A selection of his prints and other personal possessions are offered in a Christie's auction:  Snowdon: A Life in Art and Objects running online from 4-24 September. 


Bailey and Snowdon are in conversation, shortly before Snowdon's death:

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Found photographs from 70 year old Perutz film

12201132887?profile=originalFound in a Leica FILCA cassette, these photographs taken in Switzerland and Northern Italy in the early 1950s and developed in Dublin in 2020.

There are a lot of discussions and technical considerations in this article. The object is to trace the families of the people in the photographs and to unite them with the images. Any suggestions about how to do this would be gratefully received.

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12201155456?profile=originalRoger Watson, curator of the Fox Talbot Museum at Lacock, is to retire at the end of this month. In a Facebook post to friends he said: 'After 20 years at the Fox Talbot Museum it seems the right time to go. I leave with so many great memories. This has been the most significant portion of my career and I’ve enjoyed it so much. The best memories were my talks with the artists, working out plans for their exhibitions, and then to see it come to fruition on the walls. There is so much more I’d like to do. I still have a long list of artists I would have liked to work with, so many exhibitions that would have been fun to create.'

Watson's imminent departure comes as the Fox Talbot Museum and Abbey grounds re-open to the public after lockdown and the National Trust, which owns the Abbey, museum and village, weathers a storm around proposed changes to its public remit. Specialist jobs and the way it presents its properties and collections to the public are under threat.     

Roger Watson was born in rural Tennessee and received a BA in Communications and later a Fine Arts degree in Photographic Arts from Michigan State University, where he first encountered the history of photography. He began his museum career at the Kresge Art Museum. After several years of consulting work with various private and institutional collections he returned to the museum world working at the George Eastman House in Rochester, New York under the direction of Grant Romer, a world authority on the history of early photography. During his time there Roger curated several exhibitions, wrote numerous articles for photo history journals and helped create the Historic Process Workshops which revived 19th century photographic practices.

He joined the Fox Talbot Museum in 2000, originally to catalogue the archive of images and manuscript material left by William Henry Fox Talbot, one of the inventors of photography, He was also appointed Corresponding Editor for the Talbot letters project based first at University of Glasgow and now at De Montfort University. In 2007 he was appointed curator of the museum and has overseen the revival of the museum’s exhibition program and brought the Historic Process Workshops to a new home in Lacock. His book Capturing the Light – The Birth of Photography (with Helen Rappaport) which examined Talbot and Daguerre was published in 2013.

Image: © Michael Pritchard

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12201154488?profile=originalWe are pleased to announce that the gallery will be re-opening to the public on Thursday 10th September, with our Oscar Marzaroli exhibition extended to 20th December 2020.

Social distancing procedures will be in place for all within the gallery, including restrictions on the number of visitors allowed in at any one time and we request that visitors wear a face covering for the duration of their visit. Hand sanitising stations will be present throughout the gallery. For full information on our re-opening & Covid-19 safety precautions please click here

Please note our revised gallery opening hours are Thursday through Sunday from 12pm - 5pm.  The production facilities remain closed at present and we will announce their re-opening in due course.

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Lacock Abbey and Fox Talbot Museum re-open

12201154053?profile=originalThe National Trust has re-opened Lacock Abbey grounds and the adjacent Fox Talbot Museum. Admission is by pre-booked timed ticket. The Abbey rooms remain closed.

Admission is £10 and at the time of writing there are slots available at half-hourly intervals until 13 September. Tickets are released weekly each Friday and must be booked by 1500 on the day before the visit. .

The National Trust continues to attract comment regarding its future plans. See more here.  

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12201155665?profile=originalOne of the more heart-warming stories coming out of the UK's COVID-19 lockdown was the fund-raising garden walk of centenarian Tom Moore, who raised over £30 million and was knighted for his efforts. There is a photography angle to this and the following text from the Keighley and District Photographic Association is used with permission: 

In May 2020 we were contacted by Amy Roth, a Producer from North One Television, who was working on an ITV documentary about Captain Sir Tom Moore. North One Television had interviewed Captain Sir Tom and he had mentioned that he had been a member of our club between 1934 and 1936. Amy wondered if we could help track down some of his work.

As one of the oldest camera clubs in the country our club archives include several hundred glass slides that date from the 1890s to the 1950s. In 2016, having found that some of these glass slides were beginning to show signs of deterioration, we had decided to digitise them so that the images were not lost. We had completed nearly two  hundred slides by the time Amy contacted us; the digitisation process being tackled in batches of 25, as and when we had time. Amy’s contact spurred us on and the next twenty five slides were pulled out and we were immediately attracted to two slides in particular; one slide was marked as the work of W Moore and the other the work of T S Moore. Amy was asked to confirm with Captain Sir Tom’s family if W or TS were relevant initials for members of their family. Their response was that TS was not relevant, as Captain Sir Tom has no middle initial, but W could be his father, Wilfred, who was a keen photographer.

By luck, in the glass slides already digitised there were two that captured our teams that, in 1920 and 1955, had won Yorkshire Photographic Union’s prestigious Keighley Trophy, named in honour of Alexander Keighley, our co-founder. These two images were sent to Amy in the hope the Moore family could identify one of the members as Wilfred. They could! He was part of our team that won in 1920. So, one hundred years ago, in the year that Captain Sir Tom was born, his father helped us win the Keighley Trophy.

We renewed the search of our archives and made a significant find - a box labelled ‘Wilfred Moore Slides’ containing over one hundred of his glass slides. Amy selected twenty that she wanted us to digitise for possible inclusion in the documentary. The production deadlines meant that we only had a few days to do the necessary work and Club President, John Raven, rose to the challenge.

In July North One Television held their second interview with Captain Sir Tom and they showed him the prints of his father’s images. In one of the images he was able to identify his grandfather. In the 1920s Keighley Trophy team photo Captain Sir Tom remarked that his father was younger than in any other photo he had ever seen. This is the picture above - Wilfred Moore is back row, left. On August 13th ITV broadcast their documentary ‘The Life and Times of Captain Sir Tom Moore’ and we were delighted to see a number of our Wilfred Moore images were included and that we were listed in the credits.

We have invited Captain Sir Tom to become an Honorary Member; it would be wonderful to welcome him back after all these years.

Text and image used with permission and © Keighley & District Photographic Association. With thanks to Alan Peacock.  See:

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